The Selected Works of Arnold Bennett: Essays, Personal Development Books & Articles. Arnold BennettЧитать онлайн книгу.
for the sole advancement of my artistic reputation, I ignore finance and think of glory alone. It cannot, however, be too clearly understood that the professional author, the man who depends entirely on his pen for the continuance of breath, and whose income is at the mercy of an illness or a headache, is eternally compromising between glory and something more edible and warmer at nights. He labours in the first place for food, shelter, tailors, a woman, European travel, horses, stalls at the opera, good cigars, ambrosial evenings in restaurants; and he gives glory the best chance he can. I am not speaking of geniuses with a mania for posterity; I am speaking of human beings.
To return and to conclude this chapter. I feel convinced—nay, I know—that on the whole novelists get a little more than justice at the hands of their critics. I can recall many instances in which my praise has, in the light of further consideration, exceeded the deserts of a book; but very, very few in which I have cast a slur on genuine merit. Critics usually display a tendency towards a too generous kindness, particularly Scottish reviewers; it is almost a rule of the vocation. Most authors, I think, recognize this pleasing fact. It is only the minority, rabid for everlasting laudation, who carp; and, carping, demand the scalps of multiple-reviewers as a terrible example and warning to the smaller fry.
1. 1900.
XII
Serial fiction is sold and bought just like any other fancy goods. It has its wholesale houses, its commercial travellers —even its trusts and “corners.” An editor may for some reason desire the work of a particular author; he may dangle gold before that author or that author’s agent; but if a corner has been established he will be met by polite regrets and the information that Mr. So-and-so, or the Such-and-such Syndicate, is the proper quarter to apply to; then the editor is aware that he will get what he wants solely by one method of payment—through the nose. A considerable part of the fiction business is in the hand of a few large syndicates—syndicates in name only, and middlemen in fact. They perform a useful function. They will sell to the editor the entire rights of a serial, or they will sell him the rights for a particular district—the London district, the Manchester district, the John-o’-Groats district—the price varying in direct ratio with the size of the district. Many London papers are content to buy the London rights only of a serial, or to buy the English rights as distinct from the Scottish rights, or to buy the entire rights minus the rights of one or two large provincial districts. Thus a serial may make its original appearance in London only; or it may appear simultaneously in London and Manchester only, or in London only in England and throughout Scotland, or in fifty places at once in England and Scotland. And after a serial has appeared for the first time and run its course, the weeklies of small and obscure towns, the proud organs of all the little Pedlingtons, buy for a trifle the right to reprint it. The serials of some authors survive in this manner for years in the remote provinces; pick up the local sheet in a country inn, and you may perhaps shudder again over the excitations of a serial that you read in book form in the far-off 'nineties. So, all editorial purses are suited, the syndicates reap much profit, and they are in a position to pay their authors, both tame and wild, a just emolument; upon occasion they can even be generous to the verge of an imprudence.
When I was an editor, I found it convenient, economical, and satisfactory to buy all my fiction from a large and powerful syndicate. I got important “names,” the names that one sees on the title-pages of railway novels, at a moderate price, and it was nothing to me that my serial was appearing also in Killiecrankie, the Knockmilly-down Mountains, or the Scilly Isles. The representative of the syndicate, a man clothed with authority, called regularly; he displayed his dainty novelties, his leading lines, his old favourites, his rising stars, his dark horses, and his dead bargains; I turned them over, like a woman on remnant-day at a draper’s; and after the inevitable Oriental chaffering, we came to terms. I bought Christmas stories in March, and seaside fiction in December, and good solid Baring-Gould or Le Queux or L. T. Meade all the year round.
Excellently as these ingenious narrative confections served their purpose, I dreamed of something better. And in my dream a sudden and beautiful thought accosted me: Why should all the buying be on one side?
And the next time the representative of the syndicate called upon me, I met his overtures with another.
“Why should all the buying be on one side?” I said. “You know I am an author.”
I added that if he had not seen any of my books, I must send him copies. They were exquisitely different from his wares, but I said nothing about that.
“Ah!” he parried firmly. “We never buy serials from editors.”
I perceived that I was by no means the first astute editor who had tried to mingle one sort of business with another. Still it was plain to me that my good friend was finding it a little difficult to combine the affability of a seller with the lofty disinclination of one who is requested to buy in a crowded market.
“I should have thought,” I remarked, with a diplomatic touch of annoyance, “that you would buy wherever you could get good stuff.”
“Oh yes,” he said, “of course we do. But—”
“Well,” I' continued, “I am writing a serial, and I can tell you it will be a good one. I merely mention it to you. If you don’t care for it, I fancy I can discover some one who will.”
Then, having caused to float between us, cloud-like, the significance of the indisputable fact that there were other syndicates in the world, I proceeded nonchalantly to the matter of his visit and gave him a good order. He was an able merchant, but I had not moved in legal circles for nothing. Business is business: and he as well as I knew that arbitrary rules to the exclusion of editors must give way before this great and sublime truth, the foundation of England’s glory.
The next thing was to concoct the serial. I had entered into a compact with myself that I would never “write down” to the public in a long fiction. I was almost bound to pander to the vulgar taste, or at any rate to a taste not refined, in my editing, in my articles, and in my short stories, but I had sworn solemnly that I would keep the novel-form unsullied for the pure exercise of the artist in me. What became of this high compact? I merely ignored it. I tore it up and it was forgotten, the instant I saw a chance of earning the money of shame. I devised excuses, of course. I said that my drawing-room wanted new furniture; I said that I might lift the sensational serial to a higher place, thus serving the cause of art; I said—I don’t know what I said, all to my conscience. But I began the serial.
As an editor, I knew the qualities that a serial ought to possess. And I knew specially that what most serials lacked was a large, central, unifying, vivifying idea. I was very fortunate in lighting upon such an idea for my first serial. There are no original themes; probably no writer ever did invent an original theme; but my theme was a brilliant imposture of originality. It had, too, grandeur and passion, and fantasy, and it was inimical to none of the prejudices of the serial reader. In truth it was a theme worthy of much better treatment than I accorded to it. Throughout the composition of the tale, until nearly the end, I had the uneasy feeling, familiar to all writers, that I was frittering away a really good thing. But as the climax approached, the situation took hold of me, and in spite of myself I wrote my best. The tale was divided into twelve instalments of five thousand words each, and I composed it in twenty-four half-days. Each morning, as I walked down the Thames Embankment, I contrived a chapter of two thousand five hundred words, and each afternoon I wrote the chapter. An instinctive sense of form helped me to plan the events into an imposing shape, and it needed no abnormal inventive faculty to provide a thrill for the conclusion of each section. Further, I was careful to begin the story on the first page, without preliminaries, and to finish it abruptly when it was finished. For the rest, I put in generous quantities of wealth, luxury, feminine beauty, surprise, catastrophe, and genial, incurable optimism. I was as satisfied with the result as I had been with the famous poem on Courage. I felt sure that the syndicate had never supplied me with a sensational